CARLOS SANTANA / MAHAVISHNU JOHN McLAUGHLIN – Love Devotion Surrender (LP-1973)

Label: Columbia – KC 32034

Format: Vinyl, LP, Album, Gatefold / Country: US / Released: Jul 1973

Style: Jazz-Rock, Fusion, Free Improvisation

Recorded at Columbia Records CBS Inc., New York in October 1972 / March 1973.

Design [Album], Photography By [Cover] – Ashok

Photography By [Other Photographs] – Pranavananda

Liner Notes – Sri Chinmoy

Engineer – Glen Kolotkin

Pressed By – Columbia Records Pressing Plant, Santa Maria

Matrix / Runout (Side A Label): AL 32034

Matrix / Runout (Side B Label): BL 32034

A1 - A Love Supreme (John Coltrane) ........................................................ 7:48

A2 - Naima (Coltrane) ................................................................................. 3:09

A3 - The Life Divine (John McLaughlin) ...................................................... 9:30

B1 - Let Us Go Into the House of the Lord (Traditional) ............................ 15:45

B2 - Meditation (McLaughlin) ...................................................................... 2:45

Mahavishnu John McLaughlin – guitar, piano

Carlos Santana – guitar

Doug Rauch – bass guitar

Larry Young – organ

Jan Hammer – drums, percussion

Billy Cobham – drums, percussion

Don Alias – drums, percussion

Mike Shrieve – drums, percussion

James Mingo Lewis – percussion

Armando Peraza – congas, percussion, vocals

Love Devotion Surrender is an album released in 1973 by guitarists Carlos Santana and John McLaughlin, with the backing of their respective bands, Santana and The Mahavishnu Orchestra. The album was inspired by the teachings of Sri Chinmoy and intended as a tribute to John Coltrane. It contains two Coltrane compositions, two McLaughlin songs, and a traditional gospel song arranged by Santana and McLaughlin.

A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's "Naima" and McLaughlin's "Meditation," this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air.

In the acknowledgement section of Coltrane's "A Love Supreme," which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check "Let Us Go Into the House of the Lord," which was musically inspired by Bobby Womack's "Breezing" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent "The Life Divine," for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After four decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful.

(Review by Thom Jurek)

If you find it, buy this album!

SANTANA – Caravanserai (LP-1972)

Label: CBS – S 65299, CBS – KC 31610

Format: Vinyl, LP, Album, Gatefold, Tubepak Cover / Country: UK / Released: 1972

Style: Psychedelic Rock, Progressive Jazz-Rock, Free Improvisation

Recorded at Columbia Studios, San Francisco, Ca. March, April, & May 1972.

Artwork [Album Art] – Joan Chase

Engineer – Glen Kolotkin, Mike Larner

Liner Notes [Excerpt From "Metaphysical Meditations"] – Paramahansa Yogananda

Producer – Carlos Santana, Mike Shrieve

Matrix / Runout (Label side A): S 65299 A

Matrix / Runout (Label side B): S 65299 B

A1 - Eternal Caravan Of Reincarnation ................................................ 4:28

A2 - Waves Within ................................................................................ 3:54

A3 - Look Up (To See What's Coming Down) ...................................... 2:57

A4 - Just In Time To See The Sun ........................................................ 2:16

A5 - Song Of The Wind ........................................................................ 6:03

A6 - All The Love Of The Universe ....................................................... 7:37

B1 - Future Primitive ............................................................................. 4:15

B2 - Stone Flower ................................................................................. 6:09

B3 - La Fuente Del Ritmo ..................................................................... 4:33

B4 - Every Step Of The Way ................................................................. 9:05

Personnel:

Carlos Santana – lead guitar, guitar, vocals, percussion

Neal Schon – guitar

Gregg Rolie – organ, electric piano, vocals, piano

Douglas Rauch – bass, guitar

Douglas Rodrigues – guitar

Wendy Haas – piano

Tom Rutley – acoustic bass

Michael Shrieve – drums, percussion

José "Chepito" Areas – percussion, congas, timbales, bongos

James Mingo Lewis – percussion, congas, bongos, vocals, acoustic piano

Armando Peraza – percussion, bongos

Hadley Caliman – saxophone intro, flute

Rico Reyes – vocals

Lenny White – castanets

Tom Coster – electric piano

Tom Harrell – orchestra arrangement

Caravanserai is the fourth studio album by Santana released in October 1972. It marked a major turning point in Carlos Santana's career as it was a sharp departure from his critically acclaimed first three albums. Original bassist David Brown left the group in 1971 and was replaced by Doug Rauch and Tom Rutley, while original percussionist Michael Carabello left and was replaced by Armando Peraza. Keyboardist/vocalist Gregg Rolie, who was having a falling-out with Santana, was replaced by Tom Coster on a few songs. Caravanserai reached number eight in the Billboard 200 chart and number six in the R&B Albums chart in 1972.

The sound contrasted greatly with Santana's trademark fusion of salsa, rock, and jazz, and concentrated mostly on jazz-like instrumental passages. All but three tracks were instrumentals, and consequently the album yielded no hit singles. The album is the first among a series of Santana albums that were known for their increasing musical complexity, marking a move away from the popular rock format of the early Santana albums towards a more contemplative and experimental jazz sound. Caravanserai is regarded as an artistic success.

This album has been mixed and released in both stereo and quadraphonic.

Well, hardly any words can describe just how fantastic this album. Only one of a handful albums that reach perfection, this stunning chef d'oeuvre, even with this site's vast choice of albums, I cannot think of five albums ahead of it. The peak in Santana's career (Carlos' solo career was not really started yet, either) comes rather early, and unfortunately will not be equalled again, although they will come close with Borboletta. By now, the classic Santana group was becoming a loose aggregation of great musicians, this album marks also the turning point between the first and second era of the group. The first departure woula happen after this album, while some future members made their apparition. While the previous albums were just collection of songs and I would not call this album a full-blown concept album, there is definetely a theme all the way through (outside stunning musical beauty that is): every song flow from each other so naturally that you will actually feel that there are just one track per album.
As opposed to their previous three albums, the feeling is drastically different and you know that there will be many adventures from the extatic exhilaration to the stunning and reflective introspection. With a solidly almost-atonal opening track telling you that your musical trip will be as wonderfully strange as a Touareg caravan crossing the Sahara, the album gets a kickstart with Waves Within and segues into the majestic Look Up where the band is in full stride and now compleyely unleashed. And by now you have barely just left the banks of the Nile River heading for the Atlantic Coast, so you can imagine the amazing trip still laying ahead. Just In Time In See The Sun is one of two sung tracks and although short is yet another highlight of the album. The first side closes on the lengthier Song Of The Wind (where Carlos delivers some of his most delightful guitar lines) and All The Love In The Universe (the other sung track), this is one of the most perfect type of jazz-rock with many ecstatic moments.

Leaving Lake Tchad (the halfway mark and watering hole in your trip) behind you, you are heading straight for the forbidden city: Mali's Timbuktu with still quite a few marvels laying before your path. The sun-drenched (more like sun-baked) Future Primitive is evocative of all the traps laying in the desertic and arid lanscapes and is a fitting almost free improv. The mildly Arabian scales in the intro of Stone Flowers (probably referring to the sandroses) indicates that the trip is not always easy for the occidental youth, but the ultimate goal is at hand reaching the fabbled oasis. Clearly another peak is reached with Fuente Del Ritmo as you attack the lasdt quarter of the desert trek on your way to Dakar. This track sets aén incredible tension in the music with its 100 MPH cruising speed, the album reaching its apex: this track shows just how superb and awesome the band could be, and presenting for the first time Tom coster on the electric piano. The only flaw of the album comes from the fade-out of the track failing to create a real link with the apotheosis of the album, the closing 9-min Every Step Of The Way. I have a hard time thinking of a track that tops the musical tension created on this track: after a slowly increasing crescendo, the track suddendly jumps to a cosmic speed and some of the wildest musical landscapes ever: from the saturated flute solo, to the first guitar solo, solemnly underlined by a superb brass section for increased dramatic effects, you are just waiting to see if the orgasm will come when that one note will deliver your intellectual wad. And it does come (and so will you) in the form of a single guitar note (but the one you waited your whole life for), it releases all the built-up tensions and Dakar is in sight. Surely you have succeded in your internal quest for freedom of the mind and cannot be anything else but completely happy..... 
I certainly believe that in the genre, no other albums comes even close to the mastery of this album, at least in the evocational power of the music. A true trip into the meanders of your brain, this album is more essential than anything that the prog big five have made. And I am hardly exagerating... :-)

Uuuuhhh, Max!?!? About creating that sixth star rating, I asked you for.................

Review by Sean Trane (Progarchives)

If you find it, buy this album!